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Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas - which is saying something.
The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it
should, as it must, although this is alas far from a given, quite overwhelmed me.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
23 Aug 2009
The bravura performance by Ferruccio Furlanetto in the title role is spoiled by the kitschy and incoherent staging of this production. Mefistofele is unique among operas based on the Faust legend in that it rather closely adheres to Goethe’s version.
Indeed, the original, no longer extant,
version of this work was approximately six hours in length. Even in the
severely truncated revised version, Mefistofele has always proven
itself to be a serious work, with a libretto that (like Busoni’s
Doktor Faust) has some real literary merit. Unfortunately, following
the reigning spirit of Regieoper in Europe, director Miguel Del Monaco
and set designer Carlo Centolavigna have all but denuded this great opera of
its serious intent.
Opting for a 20th-century setting (which in and of itself is not a problem),
the “creative” team behind this production has missed the central
point of Boito’s (and by extension, Goethe’s) drama, namely, the
age-old Platonic opposition of the real and the ideal, in this case,
represented by the Margherita/Elena (Helen of Troy) duality. While the
ever-reliable Dimitra Theodossiou is afforded the opportunity to continue the
tradition of performing both roles, the intention behind this appears to be
economic rather than dramatic.
Act I is set in Frankfurt during Easter Sunday, but it is in the Germany of
the 1920s, not during Martin Luther’s time. This is at best a
questionable tactic because the seemingly peaceful interregnum of the Weimar
Republic had such terrible consequences in the following decades. Overloading
the already heavily-laden symbolism of the Faust legend with the tragedy of
modern German history helps to obscure Faust’s personal dilemma. Adding
to the incoherence of the staging, Del Monaco then proves not to have the
courage of his convictions by at least being consistent with the historical
implications of his staging of Act I, and sets Act IV, the Night of the
Classical Sabbath, in Las Vegas. Helen of Troy is reduced to being a showgirl
in a tawdry stage show and her attendant Nymphs reminded me of the June Taylor
Dancers who used to open the Jackie Gleason TV Show of the 1960s with overhead
shots featuring kaleidoscopic choreography.
The ultimate consequence of this staging of Mefistofele is that the
characters of Faust and Margherita/Elena are reduced to mere appendages of
Mefistofele’s mercurial personality. One of the problems with this opera
has always been the overshadowing of Faust and Margherita by Mefistofele. Del
Monaco’s staging has exacerbated tenfold this dramatic disparity.
The one saving grace of this production is Ferruccio Furlanetto’s
Mefistofele. His performance incorporates a spectacular bass voice with
animated acting. The acting, at times, may appear to be a bit over the top, but
it is forgivable given the imbecility of the staging. Indeed,
Furlanetto’s performance helps to divert attention away from the visual
and back to the musical, and for that we must be grateful.
To be charitable to the performers, I thought that the singers and orchestra
performed rather well, but at times it was difficult to gauge this accurately
since this DVD suffers from very poor balance. Even allowing for the recording
difficulties inherent in a live performance, there is really no excuse in this
day and age for a professionally recorded DVD to have such poor audio
This DVD will have appeal mostly to fans of Ferruccio Furlanetto. My advice
is to turn off the video and listen to the voice.
William E. Grim